A Chinese Odyssey Part Two – Cinderella
A Chinese Odyssey Part Two – Cinderella
aka 西遊記完結篇仙履奇緣 aka Sai yau gei: Daai git guk ji – Sin leui kei yun
1995
Written and directed by Jeff Lau Chun-Wai
Thus continues the fairy tales and romantic adventures of a guy named Joker who is really Monkey King with A Chinese Odyssey Part Two – Cinderella. The sweeping action and epic timescope of the original is expanded on, while the extra time gives us a chance to get to know a few of the characters we saw little of in the first part. Don’t worry, there are generous amounts of ridiculous slapstick, special effects fights,
Part of the fun of these Hong Kong films is the varying quality of the copy that is used for DVDs. In this case, the copy has burnt in subtitles, which calls some characters slightly different names than in Part 1. I’ve done my best to try to rectify the situation, but welcome to planet reality. If you missed the review of A Chinese Odyssey Part One – Pandora’s Box, it is here.
Even more fun, the plot of Part Two is vastly more complicated, and is rendered further difficult because several characters switch bodies in the second half. And yet, despite the zaniness, it works, as actors get more to do and the danger of repetitiveness is staved off for a while. While a tale as large as this can run the risk of becoming far too long, the brisk pace prevents fatigue from setting in. Some reviews I read thought this section was confusing and ruined the film, but I see it more as helping things from getting too stale. And if you try to follow things too logically, your brain will explode, as the timeline gets completely disrupted by all the time travel. Let’s just say there is probably a reality where King Bull opens a casino in Hill Valley…
The lovers on the roof scene at the end has become an iconic shot that is instantly recognized by people who haven’t even seen the movie in years. It’s also one of my favorite moments in Hong Kong cinema, because the whole thing is perfect. The closure of the lovers story, the chance for Monkey King to talk one last time to the woman he loved but cannot love, the looks of the torn emotions of the two characters on the roof, the look back as Monkey King walks away, and especially the music, all making a perfect storm of awesome.
The tales of destined true love that endures lots of hardships and doesn’t usually end in happy endings are common themes in the works of both Lau and Chow. This time they even have characters literally speaking to the heart to learn the heart’s desire and true love. Another common thread in Steve Chow’s films is him having a whole host of women who fall for him. It’s good to be the king! Add to that to his reputation as a playboy and how different the women are in some of Chow’s later films, and you get the feeling there is some sort of hangup about women. But that’s a whole article to itself.
The Chinese Odyssey films would end up becoming so beloved that attempts would be made to recapture the magic. Lau would return with A Chinese Odyssey 2002, and try again with A Chinese Tall Tale, and then Yet Another Pandora’s Box. While each of those films have their own merits, none of them achieve the level of special significance that the originals did. Chow also used the nostalgia of these films to excite everyone with his return to directing for Journey to the West: Conquering the Demons, though that film is so tonally different that they are only connected by the true love theme. Several other adaptations of Journey to the West are in the pipeline, the popularity of the stories will ensure their retelling for generations. Some will attempt to be creative and unique, while others will rely on the past and be lazy and derivative. We may one day see a challenger to the throne, but for now, it is time to hail to the Monkey King, baby!
|
A Chinese Odyssey Part One – Pandora’s Box
A Chinese Odyssey Part One – Pandora’s Box
aka 西遊記101回月光寶盒 aka Sai yau gei: Dai yat baak ling yat wui ji – Yut gwong bou haap
1995
Written and directed by Jeff Lau Chun-Wai
Stephen Chow and Jeff Lau’s classic masterpiece, the A Chinese Odyssey films are among the most important cinema to come out of Hong Kong. And I don’t just say that because I love the films. A combination of many factors at just the right time collide and create a lightning in a bottle event that films have been attempting to repeat ever since.
The Chinese Odyssey flicks are a mish-mash of classic literature is melded with Jeff Lau’s love of hugely complex plots with dozens of characters and love stories through reincarnation, combined with Chow’s singular wit, fast talking, and physical comedy making cinematic bliss. A classic tomb is hijacked and reworked into a sprawling tale that still uses much of general mythology of its source.
The complex plot and phone book of characters (with most of the headliners playing dual roles) does not help with an easy description, but the basic idea is Monkey King has been punished and trapped for 500 years. In the interim, he was reincarnated as a local head of a gang of thieves, a group largely incompetent and filled with lovable losers. Now named Joker, he runs the gang as they dress fierce to claim control of the area. His chief lieutenants are Assistant Master and Blind Bing, who we also know as Journey to the West characters Pigsy and Sandy.
The actual world of Journey to the West has not stopped during this time, so there are still creatures searching for Tripitaka/The Longevity Monk to devour his flesh, and they plan to use Monkey King to find him. Of course, they first have to find the Monkey King, only knowing where he was imprisoned. Those who knew Monkey King recognize him in Joker on sight, despite Joker’s insistence that he is no one special. Regardless, he gets dragged into a world of spider demons, ghost ladies, bull men, giant goddesses, and reincarnated characters.
Despite the large amount of plot going on, the films aren’t adverse to just stopping for a while to let Stephen Chow do his thing. Which is a wise decision, because the comedy is great! The physical comedy transcends all languages and cultures, while many of Chow’s zingers manage to produce laughs despite terrible subtitle translations. It’s a testament to just how good things are when it overcomes some of the usual stumbling blocks.
Monkey King is historically a defiant character, he stands against the forces of Heaven and against anyone who stands in his way. His adventures feature a lot of visits to fantastic lands and fighting gods and demons. Pandora’s Box brings him down to a more human level, which is even a point in the sequel, as his human emotions are what must be shed to continue on his journey, even though in these films he falls in love repeatedly. That’s called conflict, people!
While Joker doesn’t remember anything Monkey King did, he gets involved in the consequences of Monkey King’s various shenanigans. In the course of Joker’s lying and double lies and triple lies to get out of trouble, he ends up connecting with someone Monkey King hurt as well as dealing with Monkey King and Longevity Monk’s enemies, the huge crowd of characters who want to eat the Longevity Monk’s flesh.
Monkey King ruined the marriage of Jing Jing, and then left her waiting alone. A hard lesson in not trusting Monkey King to do anything right, but thanks to Joker being Monkey King, Jing Jing is able to confront the person who messed up her love life, and Joker is able to make a sort of amends as he falls for Jing Jing. Due to even more convoluted plot development, Jing Jing is poisoned, Joker is imprisoned attempting to get her the cure, and she believes he abandoned her and tries to kill herself, though is saved by King Bull.
The reprieve is temporary, as later she does kill herself amidst a battle in the middle of the Cave of the Silken Web after thinking Joker betrayed her. Joker is then desperately attempting to go back in time just in time to save her, but keeps being just too late. If you think repeatedly watching someone kill themselves can’t be funny, then here is a way to change your mind.
The Chinese Odyssey films have gone on to be cult classics, and are one of the first Hong Kong films I saw back in the days of getting movies from the one cool video store. Luckily for me, a roommate had vcd versions, which I managed to watch just after watching Black Mask – thus Karen Mok became a reoccurring theme in Hong Kong cinema for me, and eventually an avatar I use in many locations online. The films themselves were just so unlike anything I had seen to that point, only some of the Hong Kong films I had watched at that point had fantasy elements. At that point I was totally unfamiliar with the Journey to the West story, so everything was new to me. So while Bruce Lee and Jackie Chan may have been my gateway drugs into Hong Kong cinema, Stephen Chow became the chocolate-covered crack that kept me coming back. And decades later things are very different, the films still remain and still entertain. Thanks to the internet, many are just a few clicks away. Gone are the days of wandering through the “Foreign” section hoping for anything new, but the films I saw then – Chinese Odyssey, Drunken Master, A Chinese Ghost Story, Hard Boiled, many others – will always have that nostalgic feeling.
A Chinese Odyssey is ultimately about love. The gags and costumes and violence is all dressing for a tale about love. Not about finding love, but about love itself. Love that is destined. Love of a master and a disciple. Love that is joyful. The pain of love, and of love lost. Of love and duty, of casting love aside, or taking chances for love. Even the final ending pushes this home. The dealing with love of all types and not just romantic love expands the universal appeal, reaching audiences who don’t respond to just your average romance tale.
As we shall see with Part 2, one love can just be a stepping stone to your true love. But even then other things may be destined for you. Life can be funny that way…
But let’s first knock out the Roll Call for A Chinese Odyssey Part One – Pandora’s Box, and the drop a huge plot recap and discussion! Because that’s how we roll…
|
Your 2013 Lunar New Year Comedies!
It’s that time of the year, when China shuts down thanks to Chinese New Year! In between everyone going to see their family and every family going out for an incredibly expensive dinner, there is also the tradition of going to see ridiculous comedy films in the theaters! The Lunar New Year comedies are a source of some of the best comedy films from Hong Kong! And also some of the most terrible… But let’s not dwell on those failures, because they get buried beneath the sands of progress progress progress. And more films the next year! This time, we got a three-way battle plan, and the first time in two years that there isn’t an I Love Hong Kong/Alls Well Ends Well matchup at the box office. Because last year’s entries are buried beneath the sands of progress progress progress.
Journey to the West: Fell Monsters Chapter (西游·降魔篇) – The most anticipated of the three new years comedies, because it’s the long-awaited return of Stephen Chow to film! He’s directing this insane take on the famous Monkey King story, even if his appearance in front of the camera will be brief if he does it at all. In any event, I cannot wait, and will literally murder every single one of you to get to see this film. Yes, even you, Tiny Tim. Think I’ll spare you because of your gimpy leg? Think not!
We posted the trailer here
Hotel Deluxe (百星酒店) – Vincent Kok’s entry takes place at a fancy hotel, and like all good Lunar New Year comedies, a bajillion things are going on. The hotel hires scab employees, it’s being used as a film set, is being renovated, and is hosting a fake wedding. Yes, only those few plot lines! Hotel Deluxe stars Ronald Cheng Chung-Kei, Sandra Ng Kwun-Yu, Teresa Mo Sun-Kwan, Chapman To Man-Chat, Fiona Sit Hoi-Kei, Eric Kot Man-Fai, Raymond Wong Pak-Ming, Lynn Hung Doi-Lam, Karena Ng Chin-Yu, and many more. Raymond Wong is producing. It opens February 7th
The trailer:
Better and Better (越來越好·村晚) – Zhang Yibai (with help from Xie Dong-Shen) bring us this Mainland funded comedy on February 10th. It features Tony Leung Ka-Fai, Wang Bao-Qiang, Sandra Ng Kwun-Yu, Wu Gang, Aaron Kwok Fu-Sing, Wang Luo-Dan, Xu Jing-Lei, Ni Da-Hong, and cameos from the likes of Karen Mok Man-Wai and Zhang Ziyi.
Trailer:
Who will win the ultimate showdown of ultimate 2013 Lunar New Year Destiny? Probably Stephen Chow unless that film sucks, than it’s anyone’s game!!!!!!! Enjoy the lots of pictures below.
via Roast Pork, Sina
And let’s not forget I Love Hong Kong 2013 (2013我爱香港之恭喜发财), like I almost did!
Categories: Movie News Tags: Aaron Kwok Fu-Sing, Chapman To Man-Chat, China, Chrissie Chau Sau-Na, Eric Kot Man-Fai, Fiona Sit Hoi-Kei, Hong Kong, Journey to the West, Karen Mok Man-Wai, Karena Ng Chin-Yu, Lynn Hung Doi-Lam, Ni Da-Hong, Raymond Wong Pak-Ming, Ronald Cheng Chung-Kei, Sandra Ng Kwun-Yu, Shu Qi, Stephen Chow Sing-Chi, Teresa Mo Sun-Kwan, Tony Leung Ka-Fai, Vincent Kok Tak-Chiu, Wang Bao-Qiang, Wang Luo-Dan, Wu Gang, Xu Jing-Lei, Zhang Ziyi
Karen Mok for no reason
via British ELLE
Categories: Gallery Tags: Karen Mok For No Reason, Karen Mok Man-Wai
East Meets West 2011 (Review)
East Meets West 2011
aka 東成西就2011 aka Eagle Shooting Heroes 2011
2011
Directed by Jeff Lau Chun-Wai
East Meets West 2011 is an update in tone of Jeff Lau’s 1993 film Eagle Shooting Heroes, a classic comedy film that boasted a huge cast (many of whom were borrowed from Wong Kar-Wai’s Ashes of Time, which was running over budget and needed another film to be made with the core cast to balance the books!) and has become one of the mainstay comedy films due to the crazy and energetic feel to the picture. East Meets West 2011 takes inspiration from that, transports the reincarnated gods to modern day, and adds super hero trappings and some philosophical discussion into the mix. And though it isn’t non-stop zaniness, it is still a good time and is one of my favorite recent Hong Kong films.
While Eagle Shooting Heroes/Ashes of Time are largely based on Jin Yong’s Condor Heroes trilogy, East Meets West 2011 instead takes from another of Jin Yong’s wuxia works, Demi-Gods and Semi-Devils. The eight major characters known as the Eight Heavenly Dragons are based on the eight races of non-human entities described in Buddhist cosmology, called Tianlong Babu (天龍八部) the “8 kinds of beings that protect the Dharma” The Eight Races are the Deva, Nāga, Yaksha, Asura, Garuda, Kinnara, Gandharva and Mahoraga. Tianlong 天龍 means Heaven Dragon, but can also translate to deva-nāga “Devas and Nāgas”, the 2 highest categories of tianlong. The lower 6 categories are: yecha 夜叉 “Yaksha; cannibalistic devils; nature spirits”, gantapo 乾闥婆 “Gandharva; half-ghost music masters”, axiuluo 阿修羅 “Asura; evil and violent demigods”, jialouluo 迦樓羅 “Garuda; golden bird-like demons that eat dragons”, jinnaluo 緊那羅 “Kinnara; half-human half-bird celestial music masters”, maholuluojia 摩睺羅迦 “Mahoraga; earthly snake spirits”. And, yes, I ganked all that from Wikipedia.
Jeff Lau’s films are almost always crazy awesome, and he’s very good at bringing Western elements into his work. Lau’s films often look more advanced than their counterparts from the same year, and hold up much longer than normal. His vision can take the simplest tale and give it a grand scope. Even the title of East Meets West 2011 shows the clash of Western and Eastern styles, with the Eastern gods taking up Western super hero visuals in a modern Hong Kong, while still being connected to the ancient past and Jade Emperors and all that jazz. Even the music comes from both the West and East, with a remake of Happy Together used several times, as well as a redo of the James Bond theme (this might be one of the first times I’ve heard the score legitimately used in an overseas film, as I’ve been spending too much time watching old genre films that have been ripping it off wholesale), but also Karen Mok songs.
It is almost impossible to discuss parts of this without spoilers, so I am declaring this review SPOILER FILLED. Don’t come crying to me if you keep reading and everything is ruined.
|
Out of the Dark (Review)
Out of the Dark
aka Wui wan yeh
1995
Written and directed by Jeff Lau Chun-Wai
Stephen Chow is known as one of the funniest people to come out of the Hong Kong film industry. His films have become favorites around the globe and he has legions of fans. Chow’s mo lei tau films cross all sorts of genres, from spies to action to historical to gambling to sports. People argue over which of his films are the best. But one film that rarely is brought up is Out of the Dark, and here at TarsTarkas.NET we believe that is a crime. In fact, I’ve come to the conclusion that Out of the Dark is my favorite Stephen Chow film. But it isn’t a non-stop wacky film, it’s a comedy that’s also a pretty spooky ghost film with a very high body count. Most of the look, costumes, and even a few character names are ganked from Besson’s Leon: The Professional. Heck, there’s even a plant! Director Jeff Lau previously directed several ghost movies, and Chow in the Chinese Odyssey flicks. He moved on to Metallic Attraction: Kung Fu Cyborg among other films.
Out of the Dark doesn’t fit the mold of the normal mo lei tau films, it spends time transcending the genre of wackiness while simultaneously embracing it (yes, that’s possible!) Out of the Dark shows much of the genius later captured by Kung Fu Hustle as a mo lei tau that is more. But instead of following a hero arc, we instead follow a group of people caught up in the sins of an evil family and their revenges from beyond the grave. There are kids brandishing knives, creepy old ladies, possessions, and the one man crazy enough to not be scared of this crap. Someone’s gotta bust ghosts and take up where Lam Ching-Ying left off! So let’s get our Dark on!
|
Categories: Bad, Movie Reviews Tags: ghosts, Hong Kong, Jeff Lau Chun-Wai, Karen Mok Man-Wai, Lam Suet, Lee Kin-Yan, mo lei tau, Stephen Chow Sing-Chi, Wong Yat-Fei
